Bob Graham

Handsomely weathered John Hurt, as Pelagia's father, gives a performance of such unhackneyed dignity that it provides a moral compass for the action and helps to keep the ricocheting emotional content of the film in balance.

The film is well shot and has titillating action without a single persuasive emotion.

Kline, in particular, has the spark and know-how to overcome some awfully belabored writing and situations.

Thank God for James Gandolfini.

For quite of few of The Whole Nine Yards, it appears that the most clever thing in the movie is going to be the opening credits, monstrous close-ups of the morning toothbrushing routine.

It is wonderful to see how Sheedy gives shape to this performance -- her eyes, a photographer's eyes, carefully sizing everything up. [18 June 1998, Daily Notebook, p.E1]

If the movie sometimes seems not to come to much either, it does have something to say to those patient enough to stick with it.

Has all the elements of a satisfying movie except knowing when to stop.

Straddles a number of genres -- horror film, lovers on the lam, fairy tale -- and gives them all a cool, knowing spin.

It is well-made in an old-fashioned way, and its straight-arrow lack of cynicism may be old- fashioned as well.

The warning against actors playing with dogs or children should be expanded to include men in gorilla suits.

There is a very good movie stuck somewhere on The Thirteenth Floor trying to get out. Too bad this isn't it.

It comes down to a pair of appealing performers in a series of bad-relationship skits.

It's called One, and the hemorrhaging begins with the so-called story, which doesn't quite add up to one.

Manages to do the impossible: It makes Lopez bland.

In special effects, Lucas has moved a galaxy beyond. In energy, not yet.

Is it worth seeing once? Sure.

Beat Takeshi fans wouldn't think of missing this one. Moviegoers who hate violence wouldn't be caught dead at it.

The glossy ensemble cast is consistently interesting.

Curiously enough plays like a 90-minute version of the old television show. That's not necessarily bad.

A strange mix of the campy, at least in the English dubbing, and the awesome.

Summoning silliness Roman Polanski salutes and spoofs satanic thrillers .

Solondz should have called this one "So-So Storytelling."

If this movie ever figured out what it wanted to be when it grows up, it would be a terrific one.

When the film sticks with the eccentric comedy of a highborn woman attracted to a preoccupied genius, it works splendidly. When it strays into melodrama, it is as ill-equipped as Luzhin.

Wants to be a brightly colored bubble but has trouble getting aloft.

There may be no more unusual movie around than Vengo.

Eddie Murphy and Martin Lawrence are back together and give both of their careers some new life in this sentimental comedy.